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Bulletin for the month of October 2012 of the Association of Friends of the Museum of Art Glass Alcorcon.
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. Export. M. A. Carretero.
In our country, right now,
with no sign of change for
the better but for the worse
for a period of time still un-
predictable, private con-
sumption has been reduced
by a percentage that scare.
The family incomes have de-
clined alarmingly. Many
pensioners have had to take
care of their offspring be-
cause they have become
part of the huge volume of
workers who have run within
the unemployment insuran-
ce benefit.
The wealthy do not drop a
dispensable for euro issues
that the "just in case" and
take their money to tax
havens to keep them in a
safe place, with the full con-
sent of our monetary aut-
horities.
With this bleak outlook, acti-
vities "sumptuary" received
the biggest blow to his ribs
and are increasing their
stocks and a significant re-
duction in sales.
As part of these activities is
the world artistesano glazier.
Asphyxia is part of their daily
lives and most of its compo-
nents do not know where to
shoot.
Many leave and jettisoned
all its technological back-
ground acquired with great
effort.
The proper use of glass is not
taught in universities, we must
acquire to crush and grind
base.
To our craftsmen, the stands
of the fairs are becoming mo-
re expensive. There is talk that
this year's Christmas Craft Fair
in Madrid will add a fee of
2,000 € per stand. It's crazy.
The VAT rise has given the co-
up de grace to their meager
income and many advocate
and call for support for a re-
duction in fees paid Social
Security for artisans.
Crumbs hungry for today and
tomorrow.
In domestic trade no solution.
Those who have not, because
they can, and they can, be-
cause they do not want.
What to do? The stomach oc-
casionally called preferential
attention. The need to cover
essential expenses or yes.
Given this dismal picture,
again, you have to throw to
the outside. Hard but true
and necessary.
Without hesitation. We must
seek contacts outside our
borders to increase sales.
Using the possibilities offered
by the Internet to open a por-
tal and offer attractive pro-
ducts.
But yes, with competitive pro-
ducts, especially quality and
then price. It is undeniable.
We need to innovate, design,
offering quality, differentiated
production, flee copies
(investors are smart, they can
not try to cheat, they can not
be to fake).
You have to attend the major
international fairs and which
are less so. The event is to gat-
her contacts.
We must ask our Chambers of
Commerce abroad to quit
touching the belly and help
our industry. To open doors for
our products.
But you can never argue "that
you offer and you need help."
Since this attempt is a compo-
nent of extreme hardness, go
united in our aim. Not my indi-
viduality, except in very limi-
ted and exceptional quality
products. And it is the case for
most of our artistesanos.
Take advantage of a stand to
offer the work of several if its
price can not be met by one.
Another idea would already
repanocha is the implemen-
tation of an appellation of ori-
gin. Or several, depending on
the products, their geograp-
hical location .....
Broadly speaking, without
going into specific considera-
tions: where wine, oil, cheese,
ham, furniture, etc. The works
are and why they can not
have the glass?
Utopia? Maybe, but why not?
But it is hard to try this adven-
ture without a union between
artistesanos. We took a long
time telling these pages. Not
worth the "every man for him-
self". Or all together or that no
one can stop and fix it. The
hole without remedy. A proof
we refer.
Nuestra sede:Nuestra sede:
Castillo Grande deCastillo Grande de
S.J. de ValderasS.J. de Valderas
Avda. Los Castillos, s/nAvda. Los Castillos, s/n
28925 ALCORCÓN.28925 ALCORCÓN.
(MADRID)(MADRID)
[email protected]@amigosmava.org
Monthly Newsletter
Newsletters
Format PDF
Steve Klein
Page 2
C O N T E N T S :
Part of the month 3
Established artists 4
Young artists 4
Close the ACG 5
Orgy of colors 6
Research line 7
Activities in Museums 8
Visit to Javier Velasco 11
Activities on the MAVA 12
Visit to Sara Sorribes 13
Technical Glass 15
News 16
Culture 2012 16
With Agustin Aguirre 17
Guardian strike 17
The glass museum 18
Staiend glass in Guadalupe 19
Glass recycling 20
Cultural tours 22
Culture 2012 Programme 22
Martin Walde 23
Glass in Rio 24
Glass in National Library 25
Other trends 26
In orbit above NY 27
Eighty tears Gordiola 28
Glass workshop in Murcia 29
More on The Trinity 30
The resonance of the material 31
Françoise Venneraud 32
How does 33
Temple of Johor Bahru 34
Islam in the Louvre 35
”Inmobile” in Geneve 36
Expoliation in The Trinity 37
Museum the Vimbodi 38
Directorate 39
Intellectual Proper-
ty Law
TITLE VII.
Software.
When the offender is
a natural person the
duration of the ope-
rating rights of a
computer program
shall, under different
circumstances, be
that, as provided for
in Chapter I of Title III
of this book.
When the offender is
a legal person will
last seventy years,
counted from Janua-
ry 1 of the year follo-
wing the lawful dis-
closure of the pro-
gram or that of its
creation if it was not
published.
The exclusive rights
of exploitation of a
computer program
by the person who is
the holder shall inclu-
de the right to do or
to authorize:
reproduction in
whole or part by
any means and
in any form,
whether perma-
nent or tempora-
ry.
translation,
adaptation,
arrangement or
other transforma-
tion and repro-
duction of the
results thereof.
any form of pu-
blic distribution
including rental
of the original
computer pro-
gram or of co-
pies thereof.
No need authoriza-
tion
holder reproduction or
transformation of a
computer program
when such actions are
necessary for the use
thereof by the legiti-
mate user, in accor-
dance with its inten-
ded purpose.
Performing a backup
by who has the right to
use the program may
not be prevented.
A lawful user of a copy
of a program shall be
entitled to observe, stu-
dy or test the functio-
ning.
The author may not
object to the assignee
of operating rights hol-
der making or authori-
zing the conduct of
successive versions of
your software program
or derivatives thereof.
U R G E N T N E W SU R G E N T N E W SU R G E N T N E W S
Farcama 2012.
On Monday October 5 opens at the
Craft Fair Toledo Castilla La Man-
cha.
In previous years we have come to
the fair to greet a large number of
artistesanos glassmakers who parti-
cipated with their achievements in
the dissemination of the glass to the
audience.
This year we analyzed the list of ex-
hibitors and we miss most of them.
SPECIAL INTEREST:
Part of the month
Close the ACG
Orgy of colors
Visit to Javier Velasco
Activities on the MAVA
News
Our activities
Glass recycling
How does
Important issue: the Intellectual Property Law (XIX) M.A.C.(XIX) M.A.C.(XIX) M.A.C.
The crisis, the high prices they have
to pay for taking a stand, the ad-
venture that pay a significant
amount without the assurance that
at least the investment can be reco-
vered through sales, seem sufficient
reason to the glass sector is not well
represented in this important exhibi-
tion.
Farcama has this year with the pre-
sence of 156 exhibitors, a hundred
of which are of Castilla-La Mancha,
51 from the rest of Spain and the rest
of France, Hungary and Portugal.
The price of admission is three euros
for general public, 1 euro reduced
for retirees, young families and
groups and free for children under 8
years and professionals.
Go there like in previous years to see
the excellent work performed by
craftsmen and able to meet the
possible representation of the glass
sector and, through reading the list
of exhibitors, we see that it is very
full.
In the next newsletter we will take a
detailed look at the various aspects
that certainly we have more atten-
tion.
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Page 3
Part of de month. Robert Clark Palusky.
Palusky works are made by
combining glass, using different
techniques such as casting
mold, blown glass paste, etc.,
With other materials, usually sto-
ne and ceramic.
He also works extensively with
technical parts surface as
paints, marks, mosaics, prints ...
searching the plasticity of mate-
rials.
Composes complex works that
require time and culture to be
interpreted.
Apparently this is a whimsical
overlapping elements that could
function independently, so all
being figurative and recogniza-
ble combination is precisely
what makes his work something
strange, original and suggestive.
The whole work comprises a
complex narrative for using Wes-
tern imagery and where, in a ve-
ry personal, confronts man with
the complexity of their culture.
In the work of MAVA Palusky do-
nated in 1997 and therefore wit-
hin the set of foundational works,
it is difficult to decide which is
the front and which the back of
the work, as both sides support
rich iconographic messages.
The title of one of his latest ex-
hibition at the Gallery Habatat
New York, gives us an idea of
what it intends to convey Robert
Clark Palusky with their works: et-
ting intimate: Small important
works in glass.
Palusky Rober has work in mu-
seum collections as the Cincin-
nati Art, the Corning Museum of
Glass in New York, the Boston
Museum of Fine Arts, the Mu-
seum of Modern Art in New York
and the Museum of Modern Art
in Sapporo, Hokkaido.
Robert Clark Palusky studying at
Rochester Institute of Technolo-
gy (1969).
Master of a large number of
glass techniques, has taught
many artists from the 60s, but al-
so widely dominates the use of
ceramics.
During the last thirty years has
been Professor of Art at Hamil-
ton College in New York.
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Page 4
Established artists. Steve Klein.
Young artists. Tara Woudenberg.
Woudenberg Tara was born in
1978 in Holland.
Create a job that represents the
way you perceive the move-
ments of his ever changing life.
"With a childlike wonder and the
concentration of a scientist who
curiously communicates with the
confusion and the privilege of
being ignorant. That's my inspira-
tion."
Glass and Tara are working to-
gether since 1999.
Seven years worked in the glass
factory conventional Oude Horn
in the Netherlands where he be-
came expert in the art of mo-
ving with (not against!) Hot glass.
Travel the world extensively in his
expeditions glass and collabora-
tes with many teams from diffe-
rent cultures.
Since graduating in 2011 with a
Master of Art and Glass Science
at the New University of Lisbon in
Portugal, it seems clear to her
that the universe provides
"signals" to their motion in speci-
fic directions.
"I feel the wind touches me, is to
make the trees drop their sym-
bols and collect I are talking."
Steve Klein was born in Los An-
geles (USA) in 1946 and resides
in Long Beach (California).
"The work I do is different as ins-
piration.
However, it is the result of con-
templation, considering my
desire to bring beauty to life.
The inspiration comes from my
emotional interaction with
everyday life and often is in-
fluenced by the environment
and the special moments that
experiment.
With my work I try to offer a
moment away, a tiny breath
of beauty and comfort of the
everyday.
In the development and ma-
nufacturing process, constan-
tly reminds me to look for be-
auty and the positive in every
situation.
Take me to the sensual beauty
and sensitive glass, and its rela-
tionship with light and reflec-
tions emotion it emits. '
Steve Klein has taught, studied
and displayed his art in exhibi-
tions and workshops in the U.S.,
UK, Australia and Taiwan.
In 2002 and 2005 completed
artist residencies of Pilchuck
Glass School in Stanwood, Was-
hington.
Klein has been featured in Neu-
es Glas, American Craft and
Glass Quarterly.
His work is in the collections of
the Museum of Arts and Design
in New York, North Lands Crea-
tive Glass in Lybster, Scotland,
and the Museum of Glass in La
Granja, Spain.
"My recent work seeks to explo-
re and appreciate the memo-
ries, the consequences and the
fragile state of balance."
"My work is influenced by the
chaos in our daily lives, the
struggle for self-control and in-
ner peace and an apprecia-
tion of beauty that mankind
has always managed to find in
life. I try to portray feelings insi-
de the glass, so that the mate-
rial becomes part of sensibility. "
Our web
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Page 5
Close the Andalusian Center of Glass.
Lack of support by the City of
Castril (Granada), ruled by PP, IU
and two independent groups,
has led to the closure of the
workshop of the Andalusian
Center of Glass in the town,
which was supported by Nobel
laureate Jose Saramago and
the center that bears his name
at the time, as reported by the
PSOE in the town.
The recovery of one of the most
important artistic activities Castril
in its history was made possible
with support also provided by
the Center of José Saramago,
the Junta de Andalucía and the
previous government castrileño
Hall, the PSOE, "but his continuity
has not been possible in the ab-
sence of real support and re-
peated breach of commitments
"by the current mayor, Miguel
Perez (New Castril) and quadri-
partite government.
The ancient art of glass that was
installed in Castril around 1504
and was lost for the first time in
the late nineteenth century.
Don Hernando de Zafra, lord of
Castril after the reconquest,
founded Castril a showcase in
1504, using the natural resources
available to it, becoming a thri-
ving business until it closed in
1878.
The products that were produ-
ced were mainly for industrial
use, such as jars, bottles and
jugs, but also manufactured ot-
her articles intended to adorn
and decorate houses as 'jug
castrileña'.
The manufacturing techniques
used were blowing and mol-
ding, and in color, glass Castril
had a range of green ranging
from dark to light olive green or
slightly yellowish smoke.
Once recovered this office, until
now you could buy glass pieces
in Castril generated by different
techniques, the blow, which is
what was used previously, the
torch, glass beads for use in je-
welry, and of melting obtained
with the multitude of decorative
elements.
This tradition and the glass busi-
ness was resumed a few years
ago thanks to José Saramago
Center, which created the Cen-
tro Andaluz Castril Glass, collec-
ting cultural concern to recover
the glass industry of Castril
through the creation of unique
art glass center of Andalusia .
This was launched a project ai-
med at the dissemination of cul-
ture and art glass through edu-
cation, both technical and artis-
tic.
This project resulted in the crea-
tion of a place to a direct ap-
proach to the glass, where visi-
tors not only find a glassblowing
workshop, but an open art spa-
ce.
At first it had the support of the
Government of Andalusia
through various initiatives to pro-
mote employment, and so in the
beginning, the workshop was
made up seven students and
two teachers, who used different
ways to work with glass.
One of the teachers was Gabi
Ignasi, son of the great Mallor-
can artist Pere Ignasi, with whom
we had the pleasure of talking to
the visit we made to the Center
in May 2010 and described in our
Bulletin No. 23.
The most important and why this
whole project was conceived
was the art of blown glass, which
is what was used previously.
Also present at the workshop
torch technique, which is used to
make glass beads for subse-
quent use in jewelry, and fusing
technique, consisting of flat glass
melting furnaces, getting colorful
dishes, plates, ashtrays and other
decorations.
In his final years, four of the most
advantaged students of various
training initiatives had formed a
partnership and kept the activity,
first with the support of the City in
the previous term and in the last
year, with no municipal support.
Precisely the lack of such support
has ended the initiative, for wit-
hout such help is impossible to
maintain an activity, on the other
hand, was and is one of the best
letters for the town and a real
boost for tourism, as argued in a
statement of socialist and former
mayor Jose Juan Lopez Ródenas
Castril.
We deeply regret that this pro-
duction center Andalusian glass-
ware has been a victim of this
restrictive policy merciless invest-
ment in culture, and in these pa-
ges we show our support to the
members of the association that
has kept showcase activity du-
ring time they could.
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ged shape and use. Ceased
to be only decorative, and
from the architectural point of
view, represent new functions,
"says Barovier.
Later, in 1940 reinvents the an-
cient technique of blunt murri-
ne, a kind of glass mosaic.
Scarpa rectangular creations
are a riot of color.
"This is an excuse to reflect on
the importance of design in
the work of Scarpa. Muranes
period represents an impor-
tant chapter in his vocation
and experimental craft. One
way to compare the work of
Scarpa-designer-architect
and Scapra "he continues.
It seems that Barovier loves
everything about this art, he
said, now in crisis.
"If you walk around Murano,
find many shops selling pro-
ducts made in China rigorous-
ly. There are only 60 teachers
and few young people willing
to learn the trade. "
While saying this, says a huge
picture of 1936. In the fore-
ground, a glazier in full fati-
gues, and out of focus, six wor-
kers, almost friendly, attentive
look. Joining them Scarpa.
The Scarpa sample coincides
with the opening of a new ex-
hibition, The glass rooms, so
named by Pasquale Galiardi,
director general of the Cini
Foundation.
The space has been transfor-
med into a cozy place by An-
nabelle Selldorf.
The building of 650 square me-
ters is located in the western
part of the island of San Gior-
gio Maggiore.
In this sector of the small is-
land, for centuries, the Bene-
dictine monks of the day de-
voted to farming.
"The Benedictines had a mot-
to: pray and work. The idea is
that many artists come to dis-
play, why not experiment and,
later, create an oven”, Galiar-
di ditch.
was also curator of exhibitions
Scarpa earlier, the "Wizard of
architecture, he considered
the job a poem."
Barovier met thirty techniques
employed by Scarpa.
They differ from each other in
technical execution, as well
as the "fabric" of glass obtai-
ned.
The exposed material meets
unique pieces, drawings, origi-
nal sketches, photos and two
delicious documentaries.
The first one (Carlo Scarpa
and its infinite possibilities,
1984) recounts the night in 15
minutes of work in the window
of the master Luigi Nono.
The second (Carlo Scarpa out
of Paradise, 2012) contains a
number of testimonies of his
disciples.
Worth spending ahead of the
display 60 minutes to explore
the universe of Scarpa. Is pro-
jected twice daily.
Organized chronologically,
the journey through the world
of Scarpa boots alchemist
with beautiful examples of
using the bubble technique,
which is nothing, that the use
of potassium nitrate in the
sand mass base to give life to
a glass piece.
Experiencing Scarpa won the
critical editions of the Bienna-
le, 1934 and 1936.
"It was beyond decoration.
Materials developed chan
A man of few words. Shy and
stubborn. A volcano of ideas
with great people skills.
The great Venetian architect
Carlo Scarpa (Venice, 1906 -
Japan, 1978) managed to en-
ter the world of cerradísimo
glass masters of the island of
Murano.
Of them became fellow,
knew their secrets to apply to
the design of the glass, and of
course, to the architecture.
That is what can be seen in a
former Benedictine monaste-
ry, now houses the Giorgio Ci-
ni Foundation, which sets up
the November 29, Carlo Scar-
pa, Venini 1932-1947.
For the first time have been
collected 300 pieces of glass,
all of great historical and eco-
nomic. Some cost more than
100,000 euros.
Scarpa's passion for glass be-
gan as a student of architec-
ture.
"It was a curious person, spent
whole nights in the ovens. In
whatever he did was to un-
derstand the material down
to the chemical composition.
To work with glass is necessary
to know how matter reacts,
depending on how you want
to give to the object and as
the colors used. Scarpa was a
true alchemist, "he told the
commissioner COUNTRY, Mari-
no Barovier, descendant of a
family that creates objects
from Murano 1400.It
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Orgy of colors Carlo Scarpa.
Page 7
Line of research: Inclusions (VII).
Estefanía Sanz Lobo.
The first is the use of templates,
especially those with a grid and
create textures frame, which
may overlap each other or ot-
her inclusions at different levels
in the same work.
In working with these templates
are very useful some plastic
mesh used to wrap fruits and ve-
getables.
The procedure is simple: just put
the mesh on a glass plate, and
sprinkle the glaze over it using a
sieve.
Be careful when removing the
enamel mesh above it does not
fall on the work achieved by al-
tering the structure.
Glazes and glass powders are
better perceived the dark and
opalescent.
The two works, Fig 1 and Fig 2,
were created using frames co-
llected as described above, to-
gether with other elements in in-
clusion.
The second procedure especia-
lly important to create internal
volume is overlapping in diffe-
rent levels of the work, shapes
drawn with brush.
Problems encountered in wor-
king with fries: breakage incom-
patibilities
Working with fries is, after all, the
merger of two glasses.
Therefore, the compatibility of
expansion coefficients must be
optimal if one wants to avoid
destroying stresses ending the
work.
As an example, mention quite
spectacular breakage corres-
ponding to a large glass, consis-
ting of yellow and red chips, en-
closed between two glass.
In a first cooking, which gave no
problems, the chips are melted
with the base.
In the second, fused glass sheet
3mm on the work.
When you open the oven, the
piece had some strange breaks
rounded shaped "puzzle". See
Fig 3.
It is very useful to read breaks
works to understand why they
occurred.
In this case, the edges of the
pieces were sharp.
This means that breakage occu-
rred during the cooling phase of
the work, that is, when the des-
cending temperature curve.
If it had been broken during
heating, for a rise too fast bet-
ween room temperature and
550 ° C, the edges of the brea-
kage would be rounded by the
heat and even partly welded by
effect of the expansion in the
top of the curve.
The fact that the lines are so tor-
tuous in this break may be due to
the presence of different types
of glass in the work.
The colored surface consisted of
red chips (particle size 3 and
dust), fried yellow powder granu-
lometry 3) and float glass of Spa-
nish Glassware and coarsely
ground powder.
Thus, the tear lines are created
following the placement of diffe-
rent glass composition.
A difference in coefficients of ex-
pansion of the glass, add anot-
her factor: the failure could be
due to a drop in temperature
too quickly, because when wor-
king with fries must give even
more cooling time.
In fact, the thicker are the pieces
of glass which are to melt, an-
nealing longer be accurate.
Therefore, the coarse chips re-
quire cooling slower than the sa-
me glass powder, enamels, oxi-
des, etc.
In Fig 4 shows the structure of the
play that broke. The chips are
trapped and fused between two
layers of flat glass.
The thickness of the chips atta-
ched to the glass sheets may ex-
ceed a few millimeters to other
works of that batch.
The curve was calculated to 9
mm thick.
This difference also may have
contributed to the break.
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Activities in Museums I.
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Activities in Museums II.
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Activities in Museums III.
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Visit to the exhibition by Javier Velasco.
We had a real interest in being
able to establish personal con-
tact with Javier Velasco, as the
author of the book "Glass Body"
which won first prize in the con-
test that was held on the occa-
sion of the first and only Glass
Biennale is Alcorcon held in 2006
and is part of the permanent co-
llection of MAVA.
And we have taken the exhibi-
tion installation in the Sala La
Gallera, Valencia, that would
guide us on a visit to his book
"The Seventh Circle".
La Sala La Gallera is a ninete-
enth-century industrial building
that originally, as its name sug-
gests, was dedicated as a ve-
nue for cockfighting, hence its
original form, a dodecagon with
three stories high, each of them
with balconies offering views
space as a whole.
It is important to note the origin
of the room because the impact
that the visitor receives when
the curtain opens the entrance
and penetrates inside is exciting.
Remember the blood of animals
emerging in spurts in his fights
when he sees the staging of the
work of Javier is awesome.
Also, for us to add to this enor-
mous impression that the work is
carried out in glass is even more
spectacular.
Because the installation that re-
sembles Javier presents strange
beings descending through thin
threads of glass to a final desti-
nation, a goal that only the vie-
wer can define fantasy.
And Javier speaks of Mercu-
rochrome singular element in his
works. It is the only artist to use
this component for its facilities.
You have to remember, in this
connection, that the work is also
exhibited at the MAVA rod is
made of bright red.
Even the name of the exhibition
itself may be a clue to where
the topic is its content: the mo-
numental literary work of Dante
Alighieri's "The Divine Comedy".
Alberto Fabra, President of the
Valencian Community, said in
presenting the exhibition cata-
log that "we are witnessing a re-
fined exercise in synthesis of ide-
as and signs from an emphatic
use of pictorial language. The
cross appeals and suggestions
on making the artist experimen-
ting with the senses and perso-
nal growth axis plot the universe
created by Dante, we invited as
spectators but also as an inte-
resting protagonists reading
around this original altarpiece
concepts,
experiences and symbolic ima-
ges contained within the walls of
the cockpit. "
Jose Guirao Cabrera, in another
presentation that includes the
exhibition catalog, indicates that
"originates from a Canto of Dan-
te's Divine Comedy, one that
speaks of a river of blood in
which the condemned drown.
Upon entering the springs in the
cockpit of that river surround us,
we are immersed in his blood, to
show, in his mirror, that condem-
ned us. "
Javier Velasco says it in the pre-
sentation of his work, has relied
on a team of collaborators for
their realization ".... the team,
even occupying a discreet
background relevant and in ma-
ny cases, be of paramount im-
portance as it finally artistic ex-
perience. "
And is that Javier came to the
cockpit with the figures of the
strange beings descending al-
ready made and supported by a
team of collaborators, worked
with glass threads that complete
the installation using "simple"
stretching processes.
The installation is completed with
panels placed on the walls of
the first floor of the room in which
they represent trusses supporting
the bloody destructive aspect of
souls who rush to Phlegethon, the
river of blood mentioned by
Dante in his work.
In one of the panels projecting a
movie in which paths which fo-
llow represent blood fluids
through a free path on a hypot-
hetical plane.
And all with an illumination chan-
ging, always intense reds, which
provide an environment uneasy,
almost fearful, typical of what
the facility wants to suggest.
By summarizing the feeling that
we produced the visit to this gre-
at work of this artist: shocking.
View photos
Page 12
Activities on the MAVA. 15th Anniversary.
On 23 October this month met
fifteen years since one lucky day
of 1997 opened this lovely niche
of contemporary sculpture ma-
de of glass that is the Museum of
Art Glass Alcorcon (MAVA).
Fifteen years showing the public
the excellent sculptures which
houses its permanent collection.
Realizations of diverse styles, ar-
tists more heterogeneous and
most reputable in the second
half of the twentieth century
and the most varied techniques.
All this, thanks to the desire, in-
terest, love for their host city, the
love of glass artist Javier Gomez
Gomez, whom we are proud to
have as Honorary President of
our Association and as a perso-
nal friend.
The commemoration of the fifte-
enth anniversary should be a tri-
bute to him and, with him, to the
memory of Takako Sano, a key
figure in the existence of this mu-
seum, which offered support for
Javier to begin the journey of
MAVA and, unfortunately left us
in November 2006.
Over the past fifteen years there
have been numerous exhibitions
to give the public the works of
various artists and, in most cases,
have had the courtesy to let
one of his works to the Museum's
permanent collection.
During this period there was a
Biennale of Glass in our City in
the piece that won the "Body of
Glass" by Javier Velasco, Cadiz
artist based in Valencia and we'-
ve had the pleasure of greeting
on the occasion of our trip to this
beautiful city to see his exhibition
"The Seventh Circle", visit to
which we refer in the article on
the previous page of this Bulletin.
Unfortunately, in our opinion, af-
ter these fifteen years, the MAVA
no media projection it deserves
by the importance of the works
that form its permanent collec-
tion. A prominent overcoming
this gap is addressed much of
the activity of the Friends of the
Museum, that we make every ef-
fort to make the image of MAVA
known in as many areas as possi-
ble.
And we miss the presence of
sponsors who provide financial
support for temporary exhibitions
of renowned artists and today
are unthinkable, given the lack
of support from our City.
The celebration of this 15th anni-
versary is expected to be all mo-
dest resources allow, but we're
sure you will not miss the heat
from all those feeling the MAVA
as our own and very valuable.
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Visit the exhibition of Sara Sorribes.
As the web's Craft Centre Valen-
cia referring to this exhibition,
hatching, life in glass! is the title
that the Valencia company
Glass Crafts J. Sorribes, Innova
category finalist of National
Crafts Awards 2010, set to the
sample opened last September
13 at the Craft Center of Valen-
cia, which was attended by the
Director General of Trade and
Consumer of the Community,
Silvia Ordiñaga.
This exhibition is the launch of
the new firm Crling! By Sara Sorri-
bes, born of cooperation betwe-
en this artisan company, Profes-
sor at the Polytechnic University
of Valencia, Manuel Martinez
Toran and a creative team,
along with the collaboration of
the universities of Valencia and
Mexico.
The aim of the brand was to de-
velop a first collection in three
lines: glass jewelery, clothing
and accessories, and home and
lifestyle, where the glass comes
into the picture.
This project involved designers
from Spain, Mexico and Italy,
designing not only each of the
pieces, but also his message.
Behind every story there is a rea-
lization that has an experience,
a testimony where you can see
past, present or future.
The effort made Sorribes Sara to
see his wish to show the public
these designs has been extraor-
dinary, sacrificing your holidays
and your family to carry out the
implementation of the parts.
And it is worth noting here and
now the merit Sara to keep alive
and running the estate of his fat-
her, J. Sorribes, which was once
one of the most prominent Spa-
nish artisans in glass processing
and handling.
And we found splendid collec-
tion of pieces that were hanging
on a wall aviaries paths of the
exhibition hall.
Each of these pieces has its na-
me and some of them are stored
inside the allegorical element
that seeks to highlight the messa-
ge.
In the center of the room, the
tree of life reflected in each of its
various branches creations ma-
de by Sara and her team.
A glass creations made for sup-
plements or protagonists of an
elegant woman's wardrobe.
According to Sara informed us,
the opening of the exhibition
was a resounding success, both
audiences and critics and sur-
passing their expectations put on
the event.
The whole collection will be mo-
ved to Madrid in November and
exposed in Fundesarte rooms.
From this page you repeat Sara
and her team all the congratula-
tions and we express it in our visit.
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Page 14
XVI National Exhibition of Art Glass in 2012.
On Saturday September 8 opened in
the Municipal Complex "San Francis-
co", located on Calle 23 and 149,
the XVI National Glass Lounge in Art
2012, bringing together more than 50
pieces of exhibitors from around the
country. The opening ceremony be-
gan with the opening of Blown Glass
Furnace and live demonstration by
teachers School Workshop, and con-
tinued with the presentation of
awards to the winners of the various
disciplines.
Organized by the Ministry of Culture
and Education of the City of Beraza-
tegui through the Municipal School
of Glass, the event is held every year
and invites artists from different parts
of Argentina. The exhibition will re-
main open, with free admission to
Sunday October 14, Tuesday to Sun-
day from 15 to 19 hours.
The meeting was a great call and
was attended by city officials and
artists from around the country were
also present participating exhibitors
from around the country, artists and
the general public.
"For us today really is a holiday, be-
cause we have opened this Hall and
also the opening of the furnace
blown glass, we had a project for
three years, and the opening of the
museum, with its Contemporary Art
Gallery Glass. We really prom dresses
today and is a joy that you have co-
me to join us, "said Avila, who in his
role as watchdog of the exhibition
was very happy with your level.
Then, on behalf of the Secretary of
Education and Culture Hall, Mr. Fe-
derico Lopez, and his role Berazate-
gui Cultural Advisor, former head of
the ministry left the exhibition ope-
ned with these words: "For me it is a
must be every year after opening
this Chamber for 14 years as Secre-
tary of Culture, and having spent 23
years carrying out this cultural pro-
ject which had as its central theme
the glass. "
Lopez said that "if parts of the hall
were music, at this time we would be
listening to the most wonderful melo-
dies.
So I want us to give it up for these
artists, because they allow us the joy
of being here, and make one, but
that is a long time in this, do not be
surprised in this Chamber and in tho-
se to come, because creativity has
no roof and that makes the room
always triggers curiosity to be able
to come.
Also, as I said Veronica, is a holiday
because after many years we have
been carrying out the glass furnace,
a whim we had for several years, and
is pleased that we have begun to
build classrooms that are going to
enlarge the museum and allow more
space.
It is my great pleasure and has to do
with the continuity of the cultural pro-
ject in Berazategui ".
Glass is the main protagonist of the
National Exhibition of Glass in Art, an
event that usually combine the finest
pieces made in the categories Classi-
cal Technical Stained,
Stained Glass Painted with Grisaille
Classical Technique, Small Format,
Technical Non-Traditional, Sculpture,
Student Vans in Glass.
Since its inception, the Municipal
School of Glass is responsible for pro-
moting, disseminating and consolida-
ting Berazategui condition of the
glass as a pioneer city in the country.
Also, the school is also dedicated to
the development and promotion of
glass as a material work of artists, arti-
sans, designers and producers, reco-
vering local craft techniques.
New facilities
Finally could be built in the Municipal
Complex "San Francisco" blown glass
oven, made "very important because
the glass blowing is the soul of the
glass, because through it you can
see directly the transformation of the
glass, the whole process of transfor-
mation "according to Avila, who ad-
ded that it" is a technique that will
now enter into our educational ".
Winners
Acquisition GP: Alejandro Daniel
Herrera Guiñazú (Godoy Cruz - Men-
doza)
Category "Traditional Techniques"
1st prize: Sofia Villamarín (La Plata -
Buenos Aires)
2nd prize: Claudio Alberto Allegrini
(Ituzaingó - Buenos Aires)
1 Mention: Omar Racing (Federal
Capital)
2nd Mention: Guillermo Fernandez
(Federal Capital)
Category "Non Traditional Techni-
ques"
1st prize: Claudia Golzman (Federal
Capital)
2nd prize: Ruben Fasani (Federal Ca-
pital)
1 Mention: Diana Burman (Federal
Capital)
2nd Mention: J. Silvia Holzkan (Tigre -
Buenos Aires)
3 ° Mention: Norberto Chutrau (Tandil
- Buenos Aires)
Jury Mention: Viviana Caprarulo
(Homemade - Buenos Aires)
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Page 15
Glass techniques. Color palette (XVI).
Estefanía Sanz Lobo
In Fig 1 and colloidal gold has
dissolved and spread on this
glass, having a black portion
and a white opal transparent.
On the black area is best appre-
ciated golden hue, in the white
zone, appears reddish.
Before baking, must be dry.
Moorman (1990) recommends
waiting at least an hour before
baking.
The metals may be used in sand-
wich or surface.
For use in sandwich previously
necessary to bake temperature
of 650 ° C.
Otherwise, the milieu in which
they are dissolved form a thick
black spot when burned, and
the result would look nothing ex-
pected.
To put it in a sandwich, gold lo-
ses some of its metallic luster.
The gold may be fired between
650 ° and 750 ° C, but good re-
sults are also obtained at higher
temperatures (melting tempera-
ture) and second firings.
When baking, it is essential to ke-
ep the oven with open ventila-
tion to at least 700 ° C, as the fu-
mes given off by the metals can
affect the color and brightness
achieved.
In the test is quoted in Fig 2 Co-
lloidal gold has been baked,
and then is covered with a glass
slide and become baking.
The result is a crackle gold, in
the zones where it is thicker, built
on a bubble appears.
Lost mirror shine.
The expressive possibilities offe-
red by this material is interesting,
because it can be mixed with
glaze and fried testing it is ne-
cessary to pre-cook.
Colors can be directly cooked
on gold or on a transparent
glass placed on it.
When heated to the melting
temperature, the glass sheet ex-
pands more than the gold.
No cause tensions since gold is
the minimum thickness, but it
craquelará causing an interes-
ting effect.
Crackle also arise when the
glass is thermoformed, or when
melted on gold thick glass pie-
ces that modify the horizontal
glass surface on which it rests.
The effect created by the gold
mirror is also an interesting ex-
pressive element, however, is
lost when the glass is melted
above 700 ° C to cause the gold
crackle.
The glosses. Lustre pearl.
The chandeliers are from the ce-
ramic media.
In this area, the luster technique
consists of a decorative treat-
ment is applied to a glass surfa-
ce that provides a metallic or
iridescent appearance.
This is an old technique, already
used by potters of Syria and
Egypt, which applied silver or
copper oxides on glaze and ba-
ked, then subjecting to a redu-
cing atmosphere.
Lustres marketed today and ot-
her dissolved that a glaze ap-
plied on not require reducing at-
mospheres.
Since treatments are glazing
over (Jacket or third fire), can be
applied to the glass surface to
produce metallic finishes, irides-
cent or pearly.
If we leave aside the colloidal
gold or gold sheen, which does
have a long tradition in the world
of glass, the origin of these glos-
ses is the ceramics sector and for
this reason it is difficult to get pro-
ducts specially formulated for
glass.
In tests I used a pearl luster Cera-
michrome company, formulated
for ceramic.
The luster pearl is a transparent
brown liquid, toxic by inhalation
as colloidal gold.
All the above given recommen-
dations for extending the gold
colloid (type of brush cleaning
glass and the area specific di-
luent) serve for the pearl luster,
except for the amount of subs-
tance deposited on the glass. If
the colloidal gold was necessary
to a thick layer with pearl luster
should be just the opposite: the
coat should be fine.
A thick layer form blisters and fla-
king when cooked.
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N E W S (I).
Culture 2012.
XVI National Living Glass.
Glass is the main protagonist of
the National Exhibition of Glass
in Art, an event that usually
combine the finest pieces ma-
de in the categories Classical
Technical Stained, Stained
Glass Painted with Grisaille
Classical Technique, Small For-
mat, Technical Non-Traditional,
Sculpture, Student Vans in
Glass.
Since its inception, the Munici-
pal School of Glass is responsi-
ble for promoting, dissemina-
ting and consolidating Beraza-
tegui condition of the glass as
a pioneer city in the country.
Also, the school is also dedica-
ted to the development and
promotion of glass as a mate-
rial work of artists, artisans, de-
signers and producers, recove-
ring local craft techniques.
The exhibition will be open until
October 14.
The last September could not come
to the Hopper exhibition at the Thys-
sen Musey, Madrid, as planned but
we were visiting Carla Duval House
space Cows Retiro Park.
The exhibition, organized post-
humously by his sister Norma, ende-
d on September 26. An exhibition
reveals the artist's soul. The organi-
zation explains that looking at the
work of Carla Duval is walking his
soul.
The essence of an artist who began
painting five years and throughout
his life was a self-taught painter.
Art Lover 'as few, managed to
combine her dream as an actress
with her passion for painting' ex-
plains the media organization. `The
whims of fate that his career did gi-
ve a 180 degrees and his last mo-
ments were devoted to his other
passion, theater.
The disease is caught in one of the
most loved, the stage, surrounded
by great friends who shared with
her the poster of the play `Bruges''.
His sister Norma remembers with a
pencil or charcoal on hand. His en-
trepreneurial and fighter made that
childhood dream was slowly beco-
ming a reality and that's how he
started painting on large canvases
unleashing the innate talent he
had.
Canvases displayed in this collec-
tion and a job that has since 1997
when he made his first exhibition. A
career that was consolidated with
force and in 2002 when he joined
the workshop of the Prado Museum
by its director Don Francisco Molina
Montero. He studied four years at
the gallery, time to mature as an
artist.
Don Francisco Molina Montero, Di-
rector of the Prado Museum shop
sent a message to Carla in May
2009 that claimed that `this is not a
recognizable landscape painting,
localist, is a universal landscape, es-
sential, I would say that an interior
landscape, a landscape of the soul
'(..) `When I saw your work first
checked the interest manifestabas
for figuration. Nature, especially
landscapes and depictions of ani-
mals, were your favorite topics. A
work loose, vital, where gesture and
touch as much emphasis had re-
presented '.
The exhibit shows pictures of sub-
jects such as horses, one of the ar-
tist's favorite subjects, along with
the nudes and portraits, as he did in
Paris Norma on stage, specifically
on the 'Follies Bergere', where he
worked. In this work we have admi-
red, not only painting, if not the
being of Carla, your deeper self. It is
therefore sample a very talented
painter to which only lacked time.
On September 16 opened at the
Municipal Complex "San Francis-
co" of Berazategui, located on
Calle 23 and 149, the XVI Natio-
nal Glass Lounge in Art 2012,
bringing together more than 50
pieces of exhibitors from all over
Argentina.
The opening ceremony began
with the opening of Blown Glass
Furnace and live demonstration
by teachers School Workshop,
and continued with the presen-
tation of awards to the winners
of the various disciplines.
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Page 17
N E W S (II).
that has been created and de-
veloped by Augustine himself
Aguirre, with works performed
as striking as lamps, with glass,
are both flexible and unbreaka-
ble.
Finally, they could see some of
the paintings, from 4 to 7 Octo-
ber, the artist exhibited in Stoc-
kholm.
The process of "glass exploded"
requires several previous opera-
tions, among which the prepa-
ration of the colored tiny pieces
of this material, which will be
used in the work.
To achieve these small pieces
are crushed and screened glass
purchased on the market.
Used up to 45 shades in three
thicknesses, the largest similar to
a grain of rice and almost the
smallest dust.
In the workshop Agustín Aguirre.
all their production after the first
day of the strike called by the
works council (be three) as a
protest against the collective
agreement it intends to imple-
ment the direction.
"Many operators have offered to
report to their jobs, but has prefe-
rred to remain invite their homes
to threats (letters, painted, etc..)
That have been" added the offi-
cial note.
Guardian paralyzes its production.
events of the festival of San Fer-
min Txikito.
Thus this artist navarro peculiar
wanted to put his two cents lin-
king art, culture, tradition and
parties in a radiant morning.
Large audience visited the store
and could learn about the se-
cret that hides in the basement
of the porches of the Castle
Square, at 23: the exhibition and
workshop Agustín Aguirre.
Those who came were able to
see how the technique works Tif-
fany, performing with stained
glass windows, lamps and other
decorative details, how to recy-
cle a bottle transforming it into a
clock and how to create glass
jewelry.
Furthermore, the technique
known Explode Glass, a world
The address in Llodio Guardian
reported on 26th September that
its production of glass is totally
paralyzed, as the float furnaces
and printed, they have to remain
continuously lit, have destroyed
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Agustín Aguirre Artistic Workshop
held on Saturday September 22
its second open house, act inclu-
ded in the program of
The exhibition "Artifex, Roman Enginee-
ring in Spain" aims to bring the public
the broad technical legacy of the Ro-
man world, showing knowledge in the
various fields of technology and its ap-
plications in civil engineering.
Roads, bridges, harbors, lighthouses,
aqueducts and dams are works that are
abundant traces in Spain and a rich
heritage.
They reveal a whole network of critical
infrastructures within the organization,
and providing cultural and military ex-
pansion of the Roman Empire.
Closes the area known exposure techni-
ques and industrial arts, dedicated to
the salting industry, the manufacture of
glass, making dyes or processing of agri-
cultural products.
Artifex, Roman Engineering in Spain.
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The glass in Museums: The Casa Pintada.
The new permanent collection
of the Museum Foundation Pain-
ted House-FCG (FCP) was pre-
sented in Mula on a guided tour
of the artist, which names the
museum, along with the Presi-
dent of the Autonomous Com-
munity, Ramón Luis Valcárcel,
the mayor Mula, José Iborra,
and friends of the institution de-
dicated to the promotion of the
arts.
The new exhibition project dedi-
cated to the figure of the artist
Mulenen FCG 'explores the artis-
tic painter and sculptor, cente-
red at the origin of all things,
bringing visitors to the artist's
landmarks from a geographical
aspect, "according a note of
the foundation, "for which the so
-called cardinal points of Ga-
barrón take a prominent place
in room 2 on the ground floor of
the FCP." The exhibition high-
lights its latest creative career,
"fostering a future approach to
the artist's inner self, the personal
creative process emerges in the
privacy of the workshop and
that starting point is any aspect
of life and personal experiences
of the creator ».
The exhibition begins by FCP in
Room 1 and the Bodega, both
spaces dedicated to temporary
exhibitions of young artists
monthly, as the seven selected
from the Call for 2012 Emerging
Artists of the FCP and that cu-
rrently hosts Sample Ars Antr-
hopoda ', the artist Diego Alber-
to Pardo.
After passing through the room
2, the new permanent collec-
tion explores the visitor in the pu-
blic work of the artist, the monu-
mental sculptures exhibited in
various cities around the world,
reaching Ward 6, where sculptu-
res and paintings never seen in
the region show research and
experimentation with materials
like canvas, clay, fiberglass, iron
and paper.
Then, in room 7 you can see a
series of sculptures in colored
glass and the colors come alive
profiles.
To end the tour, the last room of
the Painted House Foundation is
dedicated to the series icons,
personal images that obey an
imaginary self, developed over
the years and have become its
most characteristic sign, one
that allows trace his work over
several decades.
Once back downstairs, after
descending the ladder impressi-
ve palatial former residence of
S. XVIII, has enabled a visitor in-
formation point and the student
of the artist's work Mulenen
through five computers with in-
formation about the activities
and publications of the seats of
the FCG (New York, Valladolid,
Barcelona and Mule) and artist
exhibitions worldwide.
New advisory council
On the other hand, was establis-
hed the Scientific Advisory Board
of the FCP, a consultative body
whose functions will be aimed at
the proposed courses of action
consistent with the purposes of
the foundation and is composed
of the presidents of the University
of Murcia and the Polytechnic
Cartagena, José Antonio Gómez
and José Antonio Cobacho
Franco Leemhuis, the mayor of
Mula, José Iborra Ibanez, the for-
mer mayor of Mula Diego Cer-
vantes Diaz, the president of the
Association of Art Critics of Spain,
Tomás Paredes Romero, the di-
rector of the Chair Gabarrón, Mi-
guel Angel Hernandez Navarro,
the director of the Fine Arts Mu-
seum of Murcia, Juan Garcia
Sandoval, the director of the
Teatro Circo de Murcia, César
Oliva Olivares, a professor at the
University of Murcia and literary
critic José Belmonte Serrano, the
diplomat Inocencio Arias Llamas,
art expert and collector José
López Albadalejo, and editorial
director of The Truth, Alberto
Aguirre de Carcer.
Since June 2005, the Painted
House Museum hosts the FCG,
an institution dedicated to dis-
play and study the work of inter-
national artist born in Mula and
to value the cultural heritage of
this city and the region, and to
investigate and promote con-
temporary art, especially the
emerging, through an extensive
program of exhibitions, scholars-
hips, seminars, courses and con-
ferences.
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Page 19
The Treaty of Guadalupe Monastery Windows (V).
Fernando Cortes Pizarro.
- The cut is to be performed in a
single stroke or "coup" and if not,
do not happen again the dia-
mond twice the same brand or
"signal" being preferable to cut-
ting back some millimeters into
the glass ("the bulk of a pin")
and if that does not work well,
try flipping the glass, from the
diamond cut line on the other
side;
- The diamond hand grips "from
the same fate that takes a pen
to write, salbo not to be lopsi-
ded as it is the pen, but eniesta
and [per] pendicular on bi-
drio ...". This description matches
exactly the way we subject the
hopper now cut.
- Has to pay attention to the noi-
se made by the diamond tip to
scratch the glass because so we
know if the incision has been
made correctly.
- To open the cut "... lameness
bidrio with danbas the hands
and the part where the cut put-
ting perished in this way that the
two index fingers are placed on
the part Hico cutting and both
thumbs are to the contrary asi-
de.
And those finger nails thumbs
are together and united as they
are, are in front of the line and
small aciendo fuerça, will diuidi-
do. And in this aya careful not
acerlo of other lot for the dan-
ger and from a gash on any gi-
ven hand. "
Surprise again the precision and
detail in the description of this
delicate operation, for which
more than a glazier would have
helped the instructions available
in the beginning.
- The bit of the edges of the
glass, often necessary operation
to finish defining the shape the-
reof, is made using spanners to-
ols called "... the mouth quales
some have more, some less,
and applied under thick bidrio
is ... ".
Currently, this operation is still
performed on glass bitten either
using tools with a substantially
identical to that described in
the text, although generally inte-
grated into the metal tip where
the wheel is cutting, or by using
a small pliers with finished tips as
parrot beak.
- The frequent bitten ends up
spending glass or iron out
metal mouths of spanners so
they should be smoothed occa-
sionally: "These spanners were
spent her mouth and so necessa-
ry, when they in when they, des-
templarlos the lauio with that cut
and close them every time that
are filed are mui open ... ".
At present, although the type of
metal used is probably different,
with the passage of time is still
necessary to occasionally file tips
bitten tongs.
Despite the intricacy of the pro-
cesses described and as not to
discourage the reader, the aut-
hor decided to conclude this
chapter with a quote as hearte-
ning as poetic: "ay other sets that
are petty: the use and EXPERIEN-
CE and hobby is the one who
makes men get everything they
try. "
That lucky old stained glass are
ground and as leads Bacian
This chapter is for me, as a resto-
rer of stained glass, a special in-
terest.
Again, the author shows his ea-
gerness to conserve and reuse
as much as possible of a window
in disrepair ("unable to mend").
The tips offered are very interes-
ting because they provide some
clues about ways to reuse old
stained glass removed by glass-
makers.
The reuse of the glass and leads
from old windows has always be-
en, and partly still is today, a wi-
despread custom amongst the
glass, as we shall see below.
The glasses were kept to restore
other similar windows leads while
merged to become new profiles.
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Recycling. Mafias recycling.
Three years ago, Ruben, who is now 28, went with his brother to recycling cen-ters to see what they could steal and then sell. "The irons that were in the co-llection points or down the street we saw a scrap sold them on the black market. Nor stole every day, just enough to eat and we would take iron and other mate-rials of most value to avoid a higher fine. We caught several times, the truth "he admits. Today, Ruben is autonomous and works even if you are legally collec-ting scrap metal for his boss, whose company has the certificate proving that you can collect and sell waste.
Like him, more and more those who see in the theft of old equipment a try. The competition is tough. The TV, radio or computer you no longer use and leading citizens to responsibly recycling center is coveted object in the black market. Every week there are thefts from collec-tion points, which is bringing head to un-dertakings entrusted to recycle and treat waste electrical and electronic disused platforms and management of these wastes. Especially this year and 2011. However, just as managers reported the collection points, which are none other than municipalities.
Better make 'blind eye'
So much so that Ecotic Recyclia and commissioned a private detective to find out if the work were taking robberies in three points clear of Catalonia. Even more to find out was to confirm, becau-se the containers were full and clean points the next morning appeared virtua-lly empty. "The photos taken by the re-searchers show the thieves cut the fen-ce to enter the recycling center and ta-king televisions and other electrical and electronic ... And pictures do not lie, "emphasizes Jose Perez, CEO of Recy-clia. Perez said that "since 2011 the theft of equipment has increased, espe-cially by higher raw materials'.
Destination: India, China and Ghana
Well you know Leonardo Diaz Pineda, RECILEC manager, company that is part of this waste through their plants Aznalcóllar (Sevilla), in Mérida (Badajoz) and Loja (Granada). "Every week there are at least three to four rob-beries in virtually every recycling center of Andalusia, and Madrid, about three," Diaz Pineda complaint.
Obviously not all clean points is the sa-me. In the town of Parla Madrid, for example, where there is a device that makes rounds Police to ensure that the-re are no points in either robbery clean, "no more thefts are occurring.Have been counted less than one a month in 2011, "say the City Council.
Also, the Civil Guard has no record of complaints in this regard, at least not to be ignored. It would be mere isolated
incidents, they say. Some facts which gives a good account Pineda.
"The municipalities, which are the ones who should report thefts clean points, clearly are not doing. A mayor went on to say that I do not care to fix this issue because it's five or eight sausages'' the people'' do not steal the bag, the car or at home from neighbors. Hence, no complaints. "
But not only are kids who like Reuben in his day subtracted with his brother to eat, there are a mafia behind perfectly organized, which makes capturing and storing of these devices to move them outside our borders, escaping the con-trol of the authorities . "Much of the ma-terials will subtract India, China and Ghana," says Pineda.
Impact
Some acts with economic, environmen-tal and legislative dire. "Only in 2011 we lost 150,000 euros for the robberies in collection points, to 30 percent margin we have. And this year is having more "RECILEC complaint manager. In fact, according to the company, over 70 per-cent of waste from collection points that came in 2011 at the plant in the munici-pality have Aznalcóllar Seville, was "cannibalized", ie without metals, wit-hout much of pollutants that have been issued previously to the environment. Something that is taking the company to the limit. "For now we endured, he conti-nues, but if the situation continues like, do not rule out having to lay off."
"Not only do we get less electrical and electronic equipment, but that we recei-ve-continues-not integers. The refrigera-tors come without the compressor wit-hout the refrigeration cycle, the washer, without motor TVs without copper wit-hout smartcard; computers, no hard disk, no sound card and other waste, such as radios, video , electronic toys we get clean aluminum, copper and iron. " And the treatment and recycling process has to continue having, even if the product does not have practically no economic value. For example, in the ca-se of freezers, "As much as we arrive without compressors do the same treat-ment, treat foams where the gaseous CFC freezers.
But in addition, the handling of waste electrical and electronic equipment in an uncontrolled manner is dangerous and can even cause serious health damage. "The TV's broken glass powders are ge-nerated very dangerous lead contami-nating the soil and health. In other ap-pliances to canibalizarlos'' contact'' mer-cury dust. "
So, on the ground of Aznalcóllar, 35 percent of cooling equipment that arri-ved in 2011 did not have the motor-compressor. By subtracting the motor-
compressor unit is released to the at-mosphere around the refrigerant gas contained therein. The gases deteriorate the ozone layer and contribute to global warming, and compressor oil contamina-tes the soil. The refrigerators arrived cannibalized RECILEC the plant were responsible for the emission of about 3780 kg of refrigerant gas, representing an issuance of 18.9 million kg of CO2, equivalent to the emissions produced by 9,000 cars driving for a year . The crisis, the high value of some metals and the proliferation of illegal outlets where they buy, is the right combination for the emergence of hundreds of new outbreaks. The value of the "merchandise" varies. "For a ton of cop-per in the black market come to pay about 1,500 euros, by the washer motor three euro and two euros for the electro-nic card, hard disk ..." says Pineda. Whi-le Ruben explains, "now goes all by ki-los. Also, do not wear a piece, but some kilos and get paid by weight. For a kilo of engine disassembled machine you can pay between 0.20 and 0.30 cents. Before I caught the whole appliances, today not only catch you have engine parts. " This lower price is because there is more competition and because increasingly, as Ruben says, "is more difficult becau-se they ask roles, although there are still buying scrap paper products."
There are also industrial thefts. While in other cases the rogue or the ignorance of the company, instead of calling an aut-horized company hires the services of someone not authorized to collect the items. "An event that affects the industry, as the price we pay rises. Also, if someo-ne sees the copier lying in an area not authorized damages our brand image, "explains Miguel Sarwat, responsible for environmental issues Toshiba TEC. Sar-wat explains that manufacturers pay € 0.18 per kilo of material electrical and electronic equipment put on the market to meet the recycling regulations. But thefts are making the objectives are not met, as Pineda complaint. "The legisla-tion passed in 2005 is not being met. Af-ter seven years of its entry into force Spain, half Spain recycles about 3 kilos per person per year, when four would be recycled, "says Pineda.
Assault on blue containers
But do not just steal these residues. Also assail blue containers. No details, but the decline is striking collection of paper and cardboard, especially in large cities, as the fall in consumption is not as high. "In 2011, the collection of paper and paper-board fell by 25 percent in the nuclei po-pulations over 500,000 compared with the previous year: in between 200,000 and 500,000, we have seen a decline of 9 percent in the less than 100,000 in Ju-ly, so much could be due to theft, "say from Ecoembes. Something that match Aspapel. "The overall collection of paper and paperboard increased by 2 percent, but that is because the collection indus-try (such as shopping) continues to rise, however collected municipal fell by 8.5 percent in 2011 », explains Carlos Rein-oso, CEO Aspapel. A Reinoso called particular attention to be given in large cities, because when the low consump-tion is approximately equally in all. " "You can do more to avoid these thefts, but in some municipalities like Barcelona, is having tracking, it is reported that there are complaints about it ...".
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Glass greener.
The European project, LIFE CERAM-
GLASS EN/ES/560 11, aims to deve-
lop new processing techniques in ce-
ramics and glass, to more efficiently
use natural resources and improve the
environmental performance of ceramic
and glass industry.
The objectives proposed in this project
would be achieved by using a furnace
with laser technology for heat treat-
ment and changes to the design and
composition of the products used in
the process.
This will help decrease the consump-
tion of water, energy and raw mate-
rials.
This is related to several areas of prio-
rity action in the EU, which has led to
frame the project within the line of cli-
mate change adaptation in the Life En-
vironment program.
In addition to climate change, the pro-
posed alternative process, provides an
opportunity for competitive advantage
in the industries producing ceramics
and glass.
The development of new products with
high added value would allow for eco-
nomic and social development would
result in a benefit both national and
European.
A "laser oven" more respectful of
the environment
This demonstration project
encompasses the design and cons-
truction of a pilot furnace, based on
the combination of a continuous furna-
ce and a scanning laser.
This furnace would be used to process
ceramic products and glass industry.
Specifically applied to the manufacture
of ceramic floor and wall flat, glass ce-
ramic and third fire.
The latter is a type of ceramic with ad-
ded value, which is subjected to seve-
ral firings to get a range of aesthetic
effects (sheen, gold, silver, etc..).
Successive firings are necessary, sin-
ce many of the colors used in the de-
coration ceramics can be obtained on-
ly at very low temperatures (between
600 and 800 ° C), compared to the
temperatures of conventional cooking
(between 1200 and 1400 ° C) required
by ceramic supports.
It is expected that the introduction of
"laser oven" in the process, to obtain
ceramic and glass with the same finis-
hes and properties, but using signifi-
cantly lower temperatures.
This would be a significant energy and
cost savings and a significant reduc-
tion of emissions of greenhouse ga-
ses.
The results expected to be achieved
with this technique are beyond the
means of the techniques used in the
industry today.
Less harmful to health
Another objective pursued is the modi-
fication of the compositions of the pro-
ducts used in the process to be envi-
ronmentally less harmful.
Currently commercial compositions
which generate the effects on ceramic
gold and silver are based on the use of
highly toxic organic solvents, and
hazardous contaminants.
This results in a health risk to produc-
tion personnel who handle these com-
positions, as well as greenhouse gas
emissions.
In this sense, the project proposes to
replace all of these compounds by ot-
her solvents called glycol.
In addition to being a good solvent for
many organic compounds, glycols are
completely water soluble and are cha-
racterized by a low toxicity, enabling
the treatment and purification of ef-
fluents generated by industry is much
simpler.
Another innovative aspect is introduced
by the process of reducing the thick-
ness of the tile support 9mm to 4 mm.
This not only reduces by half the
amount of raw materials and water
use, but also reduce energy consump-
tion and emissions of greenhouse ga-
ses.
This will get complete the objectives
set for this project and offer the cera-
mics and glass industry a new way for
your business to be more environmen-
tally sustainable and more competitive.
The Institute of Materials Science of
Aragón (ICMA), joint center of the Uni-
versity of Zaragoza (UZ) and the CSIC,
is coordinating the project that also in-
volved another joint center of the UZ
and the CSIC, Institute of Chemical
Synthesis and Homogeneous Cataly-
sis, along with three other centers in
the National Research Council (CSIC),
the Institute of Ceramics and Glass
Madrid, Seville Materials Institute and
the Institute of Carboquímica.
The company TORRECID, one of Eu-
rope's leading companies in the cera-
mics sector, complete the list of partici-
pants in this project, which has a bud-
get of about three million euros and will
take place over the next three years.
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Our activities.
In this section we detail the activities which take place this month, corresponding to the cultural visits related to the glass and outputs that we as provided in the program CULTURE 2012.
Cultural Tours.
Culture 2012 Programme.
In this month of October we will
visit the exhibition of Gauguin's
work in the Thyssen Museum in
Madrid.
What Paul Gauguin sought
when in 1891 he decided to lea-
ve Europe and sail for the South
Seas? What did you find in the
confines of the world forever
transformed his painting?
Tourism Tahiti and the Marque-
sas Islands in search of traces of
Gauguin is the desire of all those
who have ever been interested
in the work of French artist.
Thanks to support from Tahiti
Tourisme, the Museum could re-
call his flight and chart a course
for Tahiti and Hiva Oa who was
instrumental in the development
of their research.
Paul Gauguin's flight to Tahiti,
where reconquered by the exo-
tic primitivism, is the theme of
this exhibition by a selection of
artists from the late nineteenth
and early twentieth centuries,
discover how the trip to worlds
supposedly more authentic
transformation produced a
creative language, and how this
experience shaped the transfor-
mation of modernism.
The proposed itinerary Alarcó
Paloma, Chief Curator of Mo-
dern Painting Thyssen-
Bornemisza Museum and curator
of the exhibition, we will show
the fruits of artistic explorations
of Gauguin, Matisse, Kandinsky,
Klee and Macke, among others,
as well as the imprint Gauguin in
the German Expressionists and
the Fauves French, thereby de-
monstrating how the figure of
Gauguin stands as the creator
of a new canon that served
exotic boot languages of mo-
dernity in the early decades of
the twentieth century.
the objects listed in that book.
We chose the 16th, Tuesday, open in
the morning and evening and on
the 20th, Saturday, open in the mor-
ning for anyone who is interested in
joining may have option to choose
from any of these shifts.
Our partners, paying their dues have
a bonus of € 2 in the amount of the
entrance to the Museo del Prado.
In this September we will perform
various guided tours to the Prado
to see glass objects found in the
paintings from its permanent co-
llection.
Through the texts of "The Glass
painting in the Prado Museum"
written by scientists José María
Fernández Navarro and Francisco
del Aguila Capel and Prado Mue-
so website, we have prepared an
itinerary through the different our
main gallery rooms to see "in situ"
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Martin Walde. Sculptural technology.
Martin Walde, Austrian artist
born in 1957 and internationally
recognized as a result of their
participation, twelve years ago,
in the tenth edition of Documen-
ta, has dedicated the last years
exhibition design innovative
practices that may involve pu-
blic participation in the dyna-
mics of installation process works
and has tried to use in the pre-
paration of his
sculptures, art advanced mate-
rials capable of questioning our
traditional conception of the
art.
The use of a new technology
sculptural materials began to be
explored in the sixties, but had
barely evolved since then, and
the aim of the research was to
explore Walde consequences
that the use of other elements,
more contemporary our culture
stone, bronze or plaster, would for
the future development of the
sculpture and the perception of it
by the viewer.
The ZKM in Karlsruhe, Germany,
exposed to 18 October, a new
version of the video installation
Production Limits, which Walde
exhibited last year at the Biennial
of Contemporary Art of Seville,
and his collection of Hallucigenia,
sculptures made from blown thin
glass units illuminated by high fre-
quency technologies.
The structure of these pieces is ins-
pired by the invertebrate animals
of Pre-Cambrian period, whose
remains were discovered in 1977
in Canada.
Hallucigenia is ultimately the result
of the combination of own know-
ledge of art, technology, science
and nature in the service of expe-
rimentation.
Karlsruhe, 30.07.09
ZKM. Zentrum für Kunst und MEDIE-
TECHNOLOGIE
Lorenzstraße 19
Karlsruhe
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Glass in Rio de Janeiro.
to float in the waters off the be-
ach of Botafogo.
The curiosity grew when the giant
maze Morris concluded triangular
glass mounted in Cinelandia, a
major public square in Rio de Ja-
neiro and located outside the
headquarters of the City Council.
It was also possible to see the
giant clay dome mounted Golds-
worthy at the headquarters of the
Citizen Action, a cultural center
near the port of Rio de Janeiro.
The Brazilian Oliveira, meanwhile,
opted for a giant wooden sculp-
ture was installed in the park Ma-
dureira. The work takes the form
of a road with a knot in the midd-
le to allow the passage of the pu-
blic.
On the nights of 7, 8 and 9 Sep-
tember could be audiovisual
spectacle mounted by Ikeda and
was projected onto the sands of
Arpoador Beach. The projector for
this installation was installed in a
tower 15 meters high.
Cariocas have to wait until 19 Oc-
tober to see the thousands of digi-
tal images that Eno projected on
the white columns of the Arches
of Lapa, the ancient Roman-style
aqueduct of Rio de Janeiro and is
now a major local tourist.
The Brazilian city of Rio de Janei-
ro has been transformed into a
giant outdoor museum installa-
tion at various public places in
four huge sculptures or interven-
tions known international artists,
and the projection of two audio-
visual shows.
The works have been presented
officially as Brazilians celebrate
the holiday of Diwali, but some,
like the giant head created by
Spanish artist Jaume Plensa and
"floats" in the Guanabara Bay,
attract attention from a few
days earlier.
The creations can be seen free
in high traffic public spaces as
Cinelandia Square, Madureira
Park, the beaches of Botafogo
and Arpoador, and the Arches
of Lapa.
The unprecedented public and
international art show with works
by internationally acclaimed ar-
tists hear the result of the project
(Other ideas for Rio), an acro-
nym, read backwards, also re-
fers to the name of the city.
The intention is just passing the
idea that the city can be desig-
ned differently, told Efe the or-
ganizers of the exhibition, inclu-
ding Rio Globo organization, lin-
ked to media conglomerate
Globo.
The aim of the organizers is to
mount an exhibition in public
spaces like every two years until
the Olympic Games in Rio de
Janeiro organized 2016.
The first exhibition of the works
were created especially by the
British artist Andy Goldsworthy,
music producer Brian Eno En-
glish, Spanish sculptor Jaume
Plensa, the American sculptor
Robert Morris, the Japanese de-
signer and sculptor Ryoji Ikeda
Brazilian Henrique Oliveira.
The sculptures and interventions
may be appreciated by locals
and tourists until 3 November,
while Ikeda's audiovisual show is
designed only for three days
and Eno's digital projection ex-
hibited between 19 and 21 Oc-
tober.
The outdoor exhibition began to
arouse curiosity when a crane
positioned on a special base
and in the middle of the Bay of
Guanabara human head in fi-
berglass Plensa created by Ca-
talan.
It is "Awilda", a sculpture by forty
feet high representing the face
of a Tahitian girl and that seems
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The glass in the National Library.
Included in the celebration of
the tercentenary, the Library of-
fers an adventure in which visi-
tors can interact with the 200
pieces on display through
sounds, music, movie scenes or
voiceovers.
"Many people could not even
imagine that in the Library are
preserved these works of art,"
said Gloria Perez-Salmeron, di-
rector of the institution, for whom
it is important to raise awareness
and bring the public "the fourth
estate library in the world" .
The exhibition is sponsored by
Spanish Cultural Action (AC / E)
and is intended, according to its
president Teresa Lizeranzu,
which capture the reality and
the future of books.
The works selected by curator
Magda Polo, except for a loan
from the Museo Reina Sofia and
two private collections that we-
re important for the show, come
from the collection of the Libra-
ry.
In addition to showcasing some
of the funds of artist books and
order books from the Library,
many of whom have never par-
ticipated in any discussion, the
objective of the commissioner
has been "making a proposal
that was not to use the visitor
could interact and draw part of
their content. "
The course is made up of nine
sections which display works ran-
ging from the avant-garde to
the present and begins with an
introduction in which ten people
in ten different languages
explain what a book is for them.
The following presents the results
of the proposal made by the
network so that anonymous rea-
ders will select the 500 texts,
which in his opinion are best
described as a figure of world
literature and which are part of
the initiative.
In this section, titled "The Book as
a hunter of moments", contai-
ned a book of Martin Ruiz Azua
object that allows visitors to pho-
tograph and place your snaps-
hot into a framework that is pro-
jected on a wall.
"The book as poetic eyes" shows
works by Miró not exhibited so
far, along with other relevant ar-
tists and publishers can appre-
ciate these books have strengt-
hened.
"The book is a whole but also the
sum of its parts," according to
the curator.
Another proposal of Magda Po-
lo in "The Book as a destination"
is that visitors can "way of exqui-
site corpse", writing part of a bo-
ok that will be developed during
the days of exposure and then
edit an e-book.
In "The Book as a delicacy" me-
ans this "as food for the soul" and
to express this idea the curator
has selected books that artists
have used the theme of food as
"leitmotiv" of his work.
This section lists books Ferran
Adrià and a work that Magda
Polo considered very special.
This is done by the Joaquim Me-
ritxell Falcó Tembleque and for-
med by cast glass pieces writing
therein.
"It is a loan which we hope will
become part of the Library," said
the commissioner that "The book
as a book artist" wanted to try
establishing dialogue between
literature and art.
This important pieces selected
Rafael Alberti and Antoni Tapies,
Max Holzer and Paul Palazuelo,
Jose Angel Valente and Antoni
Tapies, Francisco de Quevedo
and Antonio Saura, Alfred Jarry
and Joan Miró, Picasso, Barceló
and Chillida.
With eroticism seen through the
eyes of artists continued the
journey in which you can see
clips from the film "Fahrenheit
451" that illustrates, among other
pieces, the section devoted to
the book as wound.
Done differential exposure is
treated as musical scores artist
books in a space that, next to
the book as a journey, the jour-
ney ends.
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Other trends. The cathedrals of Peridis.
There was a time that bishops with
one hand wielding the sword and
put other stones. Both hands wor-
king for God. Each in its own way.
Say religions were warlike times,
borders mutants, artistic move-
ments devotees traveled on foot
and running thousands of miles
behind any chimera.
The mosques were Christianized,
Romanesque burst from France
and pilgrims invested great energy
in walking to shrines.
A cathedral, with its play of natural
light and their stories in stone, not
only was the temple of God. "It was
the theater of the Middle Ages,"
says José María Pérez González Pe-
ridis, the artist and architect who
has done much to safeguard the
Romanesque as a stonemason XIII
century.
"Imagine the feeling of that time a
farmer riding his family in his wagon
and go to see the cathedral of Bur-
gos first" proposes.
It is not difficult to fantasize with the
farmer and his astonishment. The
cathedrals continue to awaken
admiration and curiosity many
centuries after its construction.
Peridis himself, who has just publis-
hed the book light and the mystery
of the cathedrals (Oxford University
Press), inspired by the television se-
ries to be broadcast on La 2 this
fall, still finding surprises at every vi-
sit. This morning, without going any
further, in the cathedral of Cuen-
ca, where he presented his work. In
the arch designed by the French-
man Etienne Jamet (Esteban Ja-
mete in Cuenca) to connect the
cathedral cloister with carvings dis-
covered two tiny bill vibrant male
nudes. "This man had to be in Ro-
me or know the work of Michelan-
gelo," he says vehemently.
Could. Jamet Caravaggio had a
life: it was violent, quarrelsome and
abusive. He went from place to
place working for the stars of his
time (Covarrubias, Vandelvira ...).
He killed his first wife and chronicles
not just dare him not to rule out al-
so with the second. Blasphemed
on scaffolding installed in the cat-
hedral while over to the Inquisition.
Time in prison several times. But, in
short, was a sculptor and an archi-
tect divine picky. The arc Jamete,
sublime example of Spanish Plate-
resque, is his masterpiece and, ac-
cording Peridis, the perfect finish
Gothic Renaissance interior.
Santa Maria Basin is one of the se-
ven cathedrals which are detailed
in the book, along with those of
Santiago, Jaca, Oviedo, Burgos,
Barcelona and Lleida. He was the
first who broke with the Roman and
started giving prominence to light
and space. Another example of
medieval artistic vanguard, techno-
logical innovation and factory em-
ployment, rosetta stone capable of
uniting the interests of the spirit and
the flesh. "And it is also an example
of a job well done, in cathedrals no
bungling" says the artist.
If you captive Peridis Jamet, Miche-
langelo Albares, senior chaplain
and art enthusiast as well as the ar-
tist, is fascinated by one of the al-
tarpieces painted for one of the
chapels of Almedina Fernando Ya-
nez (Ciudad Real), one of the two
disciples Spanish who went through
the workshop of Leonardo da Vinci.
"The Adoration of the Kings are all
the teachings of his master, colors,
hands, faces and light treatment,
all except the pigments". Albares
said that fortunately the painter
chose to use traditional pigments,
more durable than those used by
Leonardo.
Blasphemous or not, more or less
sinful, cathedrals promoters seeking
artists and craftsmen capable of
touching perfection. Hence Jamet
escandalizase but was not fired. Be-
sides, the promoters were not sin-
less: cabildo vanity is such that in
the altar placed his symbol-a vase
of lilies-over sculpture of God, as
the chaplain warns more slyly, that
struggles disseminate the secrets of
a little known-cathedral receives
70,000 to 80,000 visitors a year, and
attractive. Not only for the past. In
the nineties had the good sense to
order the windows that had been
destroyed by the action of time
and wars to contemporary artists
like Gerardo Rueda, Gustavo Tor-
ner, and Henri Dechanet Bonifacio.
The decision sparked controversy.
Purists XVI wanted stained glass. But
there were no holes in the windows
but XVI. The process respected ar-
tists of medieval glass and molten
lead, but introduced contemporary
designs and colors. Torner, for
example, has filled the cathedral of
warm tones, sandy and orange,
which warmed the chill typical of
cathedrals. The natural lighting ef-
fects, which change every half
hour, amazed. Although visitors are
no longer peasants in a cart.
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In orbit above New York.
To visit Cloud City, the last work
of Argentine artist Tomas Sara-
ceno, you have to cross the halls
of the Metropolitan Museum of
Art in New York and get direc-
tions to the terrace, on a path
that runs between a huge num-
ber of fragments and cultural ar-
tifacts classified precise catego-
ries.
Once on top, visitors celebrate
the end of the road regaling a
glass of champagne or, better,
of San Pellegrino, while admiring
the panoramic image of the city
now interrupted by the presen-
ce and effects of installing Sara-
ceno.
As happened downstairs in the
museum, Cloud City offers a
shattered reality. The structure,
built by the aggregation of 16-
polyhedra dodecahedra and
tetradecaedros-habitable, who-
se faces are lined with mirrored
glass or transparent space alters
the conditions conventional
taxonomies provides both new
and weaves relationships with
their immediate environment
and with other distant and unex-
plored .
It is "like a sundial," Saraceno
said, referring to how the sun's
rays, the impact on the piece,
and shoot stray towards random
places and faces.
"The inhabitants of nearby buil-
dings are going to find that your
window lights a few hours in the
sun not generally received.
The buildings become the mar-
quitas of clockwise, "continues
the artist.
At first glance, and to compare
it with other works (which have
become the stuff of theoretical
reflections as Sanford Kwinter or
Bruno Latour), we find that there
is less air Cloud City and more
steel.
When accompanied by the
question of whether this work is
too heavy and appropriating
the famous question that the ar-
chitect Buckminster Fuller made
to Norman Foster's Sainsbury
Centre ahead, ask: How Does
Your Building Weigh Mr. Sarace-
no? Saraceno laughs and then
answers bluntly. "I do not work
with absolute categories, but re-
lative. Screws are seen, but
when you walk inside I think the-
re may also transmit lightness.
The materials are heavier, but I
am disappointed. The weight of
things in relation to what you
compare. speculated In this
work a lot with the satellites. I
would like to put in orbit and or-
bit the weight there. This same
building in orbit would be light. "
Cloud City reflects the environ-
ment of the MET and repositions
the building. Saraceno specula-
ted to relate directly with the
cosmos, with the stars or, more
specifically, with the Internatio-
nal Space Station, as advertised
on the website of the museum,
will be visible from the terrace
on days and times indicated in
the that, perhaps, Cloud City re-
flections are received well in
space.
But this multilevel environment
can also navigate on foot.
"It is difficult to find," said Sarace-
no, "at the time when the transi-
tas, the work poses the challen-
ge of how many images you can
see simultaneously." (A challen-
ge also raises the museum, with
over two million items distributed
some 190,000 m2).
"Walking through the work expe-
rience moments of discomfort
because they are too reflexes.
Paralyzes Some people, who
would get dizzy, afraid.
It is also possible to understand in
a more philosophical and won-
der how many realities can mo-
ve comfortably, how we adapt
to new environments. "
The sun sets behind the buildings
of the Upper West Side. Inside
Cloud City the last day visitors ro-
am without being aware that
their bodies are mixed with dis-
torted images, and increasingly
dark city.
Below, while enjoying the aest-
hetic experience, some leverage
the reflective properties of the
glass to take group photos whe-
re even the photographer is pre-
sent.
"The challenge of Cloud City is
not just technology," concludes
Saraceno, "also social and politi-
cal.
Why did not we think of cities
where we live like Wikipedia, as
a communication network, dy-
namic and participatory? ". And
that Cloud City is not intended to
be a mechanism through which
to perceive the city differently
but to become a "heterarchical
network."
Saraceno is proposing to build a
city on the MET, a New York fol-
ded on his terrace, which will re-
main in our orbit until 4 Novem-
ber.
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Eighty tears Gordiola.
A farewell in style and leave its
mark in the great temple of the
Church in Mallorca Cathedral.
That seems to be the intention of
Bishop Jesus Murgui with new art
project which provides for Seu.
A large installation algaidí unk-
nown creator Jaume Falconer
operate as a tribute to all the
saints Mallorca.
Eighty tears Gordiola glass strung
on a metal base, on which Heri-
tage decide now if they are too
contemporary for a XIII century
building and declared of cultu-
ral interest.
The prelate is the alma mater of
this project, which will serve as a
farewell to his tenure on the is-
land and expected to be insta-
lled in one of the side chapels of
the temple.
Predictably in the chapel known
as Vermells dels, the first to
which the visitor accesses the
portal of The Almoina.
The creator algaidí declined any
statements claiming that the
project was still at an early sta-
ge.
However, the Consell Heritage
department on Monday recei-
ved the full report and the re-
quest for this installation, as hap-
pened with Barceló.
Again, being a listed building of
cultural interest of this commit-
tee will be responsible for giving
area or not approval.
"We must take into account se-
veral considerations. Among
them, the problem of conserva-
tion of the cathedral itself befo-
re," says a Heritage.
Technicians analyze the liturgi-
cal sense of the work aspect
that no doubt plan as Falconer's
intervention marks the Year of
Faith.
However, the artistic and aest-
hetic aspect of the work has not
convinced input, the experts,
who ensure overall consistency.
"It is a gift from the Mallorcan
Murgui" sources close to the bis-
hop sentenced. But an allegory
and a tribute to all the saints of
Mallorca.
Unlike intervention in the Blessed
Sacrament chapel that Barceló
conceived as a ceramic, the
Falconer-as it is projected on
paper-is a sculpture with a large
iron structure designed by the
Mallorcan artist. On it, like on the
wall itself, will hang eighty pie-
ces of glass made by the facto-
ry Gordiola.
For glasses-with-teardrop two
men have been needed in the
complicated process of blo-
wing.
Each piece will be about 80 in-
ches high and 20 wide, which
gives an idea of the magnitude
of the intervention.
"All are stained in a color we
have achieved after adding mi-
nerals" explained from the com-
pany.
The protagonist of this creator
initiative, James Falconer, had
collaborated several times with
the Bishop of Mallorca.
His most prominent Creu de
Creus is a monument of 54 cros-
ses-shaped tree that was placed
in Randa last year on the occa-
sion of World Youth Day.
Another dream collaboration
was mounting design prepared,
also in 2011, for the exhibition of
the Mare de Deu beds Morta in
the Diocesan Museum.
In his workshop Algaida sculpture
remains for now, but the creator
has been these days considering
its location in the Cathedral.
Although Heritage technical
analyzes and the project, sour-
ces say Consell assessment will
not be ready for the official fare-
well Murgui.
The bishop, who met with Presi-
dent insular, Maria Salom-
officiated the September 23
Mass in which he said goodbye
to his parishioners.
Falconer, outside art circles, Mi-
quel Barceló happens when in-
tervening in the Cathedral and
outperforms Joan Miró, rejected
at the time by the curia. Yes he
did Antoni Gaudi in baldachin
and altar modernist details.
Murgui, known for his discretion
and his few public appearances,
bet and establish a dialogue
with modernity in a Gothic
church as an ally taking your ar-
tist reference.
According to the website itself
from the Cathedral, the chapel
dels Vermells is currently chaired
by a painting of the Immaculate,
the work of Guillem Mesquida
and dated 1740. A piece that
served to cover sometimes the
central image of the altarpiece.
Sources close to the project say
the Cathedral of Falconer is flexi-
ble and could undergo several
modifications to suit the needs of
the temple.
Anyway, before we can cele-
brate the Year of Faith with the
tears of Falconer, the Bishop
must pass the technical heritage
and know no acts of faith.
Page 29
Glass workshop in Murcia (XV).
JIMENEZ PEDRO CASTILLO
JULIO NAVARRO PALAZÓN
JACQUES THIRIOT
Built on this floor, side walls were
subjected to a total repair in the
vicinity of the mouth of the furna-
ce, with the aid of bricks with a
north and south coarse stone.
Above south and west walls of
the pit is identified either a floor,
in contact with the furnace, due
to the presence of blown glass
fragments scattered on its surfa-
ce.
The exceptional state of preser-
vation of this oven can advance
some hypotheses about their re-
fund and use.
Just seems to lack the leadership
that closed the set, however, its
return is hypothetical, has not
been preserved for any element
that ensures us whether there
was an upper chamber annea-
ling.
This oven may be used, thanks to
its central fossa of primary furna-
ce and melting furnace crucible
with nine sidewalk due to its peri-
meter.
It appears impossible to proceed
with the extraction of primary
glass melting us towards disconti-
nuous use.
This hypothesis, also apply to fur-
naces of this type of street Pux-
marina (4 and 1 in the first pha-
se), deserves confront other
examples of those who currently
lack.
Conclusion of the workshop
It is difficult to interpret some tra-
ces that are highly degraded,
largely by successive reforms
and reconstructions that have
suffered during the period of
use.
If certain furnaces seem to res-
pond to a relatively unknown
model, other, more complex,
considerable uncertainties still
present.
The concentration in the same
workshop several examples of
apparently similar function could
indicate not only the great ca-
pacity of the workshop in terms
of finished manufactured goods,
but also a significant production
of raw materials demanded by
other artisans.
A production of raw materials
seem to have been designed
furnaces 4 and 1 (first phase)
and the Belluga Puxmarina,
which as we have seen was also
a melting furnace.
The need for pre-melting pro-
cess in these workshops is that
the technology could not achie-
ve preindustrial sufficient tempe-
rature in the melting furnace
due to the fuel used, the wood.
It was therefore necessary to
work in two phases.
In this first process, described in
medieval documents and trea-
ties of the sixteenth and sevente-
enth centuries, the raw material
(vitrification, melting and other
minor components) are available
inside an oven, and after about
six hours a temperature around
750 ° C is transformed into a vitre-
ous mass which was stripped of
the remaining impurities in the
top and is subsequently allowed
to cool until solidified.
Then, the material thus obtained
was extracted from the furnace
and the crucibles or reduced into
small pieces with the aid of a
hammer, to be subsequently in-
troduced into a crucible together
with a recycled glass fragments,
all of which was placed inside
melting furnace kicking off the
process of forming a vitreous
mass could already be finally ma-
nufactured (Fig. 21).
This way of preparing the frit was
already in use in Roman times
and is described by Pliny the El-
der, in times of Isidore fried pre-
paration in two days had fallen
into disuse, but was carried out
prior to calcination process raw
material was described by the
Spanish.
There is evidence that prove the
existence, at the end of s. XIII, a
reverberation oven Murano, ca-
lled "Calchera" which served to
prepare the frit.
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More on "The Trinity”.
The neighbors in the environ-
ment sector of ancient glass
factory 'Trinity' of Sevilla interes-
ted in the conservation of this
factory complex has praised the
action taken earlier this summer
by the administration on the out-
side wall of the enclosure, on
which had insistently demanded
of an intervention by his poor
state of maintenance.
However, the spokesman of the
platform 'Save the Glass Factory'
and president of the Historical
Association Retiro Obrero
(AHRO), Basilio Moreno, has told
Europa Press that the neighbors
are interested in accelerating
efforts for administrations' move
tab "in relation to the integrated
conservation of the ships, the
main interest of the group.
Thus, the platform aims to pro-
mote both meetings with the
Planning Department as the de-
partment of Culture of the Go-
vernment of Andalusia, with a
view to encourage visits to the
factory set to debate face to
'spot' the points required by the
neighbors, mainly the implemen-
tation of the process of drafting
a new Special Interior Reform
Plan (PERI).
In this regard, Moreno admitted
that the group felt "fear" following
recent meetings with Urban since,
considered, "did not appreciate
the extent of what is worth preser-
ving Plenum ships", although they
have been finding that "there is
no license granted or authorized
to demolish them, and yes of the
outbuildings."
"We are very confident in their
readiness, but we want to see
them perform," summed spokes-
man 'Save the Glass Factory', on
the other hand has thanked the
draft recovery of historical memo-
ry and documentary promoted
by the Session, it is "fantastic, be-
autiful, and quite a plausible de-
tail to the glass factory."
However, this initiative, "regardless
of its rating, is not in the City's
commitment to the platform and
the city ahead of their protec-
tion."
"What we want is the full conser-
vation," he stressed, welcoming
you and the Junta de Andalucía
has secured this extreme conser-
vatism under the Industrial and
asking, in this sense, "an act of
goodwill".
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The resonance of the material.
Trained as an architect, Stella Ma-
tutes Rahola has embarked on a
path of constant research into the
matter into its "symbolic and physi-
cal", as she explains.
A journey that takes her to assert
that "no materials are inherently
poetic, we can not prejudge the
qualities of a material, but we are
the ones we make what are the
relationships between the materials
to take poetic qualities."
If we translate those words into the
physical plane will approach quite
what she Gravitacions shown in the
exhibition last September 13 ope-
ned in Ibiza s'Alamera and Socio-
Cultural Centre in presenting his re-
cent work in porcelain and glass,
plus a first approaches to plastics,
the new field of creative research.
To Rahola Matutes, both porcelain
and glass are materials as attracti-
ve to her because "are closely lin-
ked to the craft, to the production
of household objects."
Familiarity with this matter is the ad-
vantage to "descontextualizarlos
and give them another look"
through a "non-academic appro-
ach to the usual techniques."
"Pervierto techniques and proces-
ses to new results, look for the reso-
nance of the materials' highlights.
Dualities
And in that search found the duality
of porcelain and glass from its initial
liquid state and the strength of its
completion, a concept that joined
his intention restarles gravity, ma-
king them "light, which levitate." "It is
a game of contradictions," he ex-
plains.
To achieve this effect, Matutes Ra-
hola materials used as structural
foundations that disappeared with
the high temperatures of the ba-
king process, such as cotton, wool
knitting, coffee filters or sheets.
There is something organic in the
result, although the artist is quick to
clarify that it is not something
sought deliberately, while not den-
ying some landlocked load at work,
but, yes, "in a less conscious" .
In the nearest future, Matutes Ra-
hola soon participate in a group ex-
hibition in Miami.
In 2013 his work displayed at the
Centre d'Art Santa Monica in Bar-
celona and at the national arts ini-
tiative looks of women, besides en-
joying a residency at the Chinese
European Art Center (CEAC) in
Xiamen, China.
Gravitacions s'Alamera remain on
until the 27th of October.
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Françoise Vanneraud on ABC.
Shadow play, a specific project for
the Project Room 4 ABC Cultural
and ABC Museum, is a work that
invites the viewer to reflect on the
different layers of perceived reality
and influence of the media, the
environment, politics, own
experience and collective memory
when view.
The piece presents the form of a
submerged installation in the dark.
Upon entering the room, the viewer
encounters a glass plate
suspended large to eye level by
four wires, creating a sense of
unease and tension due to
assembly and the unusual size of
the glass.
This houses a black and white
drawing that makes up a first layer
of reality, image of a superficial
perception.
On the ground casts a shadow, but
this blend two layers, the apparent
and the underlying result of the
mixture between that projection
and a new drawing on the floor
surface.
The resulting image is disturbing,
focusing on fears and collective
memories present in our current
environment of social crises, symbol
observation beyond the
appearance and the projection of
the observed subject.
Françoise Vanneraud
(Nantes, France, 1984)
Based in Madrid, the French
Françoise Vanneraud is first and
foremost a storyteller.
Stories that feed everyday, from
the pages of the newspapers, and
exploding, black and white or
color, murals on its premises, in his
drawings and small paintings in
which tends to accumulate.
Bachelor of Fine Arts in his
hometown, Vanneraud work has
been exhibited at the Museum of
Fine Arts in Nantes (2012), in the
gallery Raquel Ponce (who
represents in Spain) and in the latest
edition of the 'Circuits "promoting
young art Madrid and in
international fairs such as ARCO or
MACO.
In fact, since September 15, is part
of the collective 'Iceberg' in
Slaughterhouse-Madrid.
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How does.
This month we include some pictures of the technique practiced by Steve Klein.
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The Glass Temple of Johor Bahru.
The light came from a work of art
in glass placed at the entrance
of a temple.
It was then decided that he
would use the same material for
his temple shining sunlight.
Currently travelers are amazed
Sri Arulmigu vision Rajakaliam-
man, almost completely cove-
red by colored glass pieces,
both indoors and outdoors. A fra-
gile beauty and captivating.
As many as 300,000 pieces of re-
d, blue, yellow, green glass, pur-
ple and white, including its floors,
pillars and walls.
There are large glass chandeliers
hanging from the ceiling that so-
metimes reflect a blinding light,
but when the eye becomes ac-
customed to it can enjoy a fabu-
lous view.
The glass sanctuary is air condi-
tioned and has a capacity for
1,500 worshipers.
Although its primary function re-
mains religious, the "Temple of
Glass" Johor Bahru is always full
of tourists and foreign visitors who
want to be dazzled by her beau-
ty.
In the city of Johor Bahru, near
the southern border of Malaysia
with Singapore, is one of the
most impressive architectural
gems in the world: Sri Arulmigu
Rajakaliamman Temple, also
known as "the Temple of Glass",
one of the visits required in every
trip to Malaysia.
Arulmigu Sri Rajakaliamman was
built in 1922, although its original
appearance was much more
modest than we can now con-
template.
His real expansion began in
1991, when the current priest de-
cided to transform the humble
log cabin in one of the most be-
autiful place of worship Hindu
Asia. And of course I got.
So, in just five years, it managed
to expand and completely re-
build the temple and turn it into
an impressive display of Malay-
sian architecture.
Responsible for the whole pro-
ject, the Sri Guru Sivasamy Sin-
nathamby says he was traveling
in a rickshaw Thai Bangkok when
he conceived the idea.
While traveling, looking around,
a bright light in the distance
caught his eye and decided to
go after her.
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Islam in the Louvre.
The Louvre Museum began a hea-
vy week of inaugural events Arts
department of Islam and their new
5,000 square meters, where expo-
sed under a blanket of glass and
corrugated metal an integrated
collection of 18,000 works created
on three continents and 1,200 ye-
ars of history.
Of these 3000 are exhibited master-
pieces of time, many for the first ti-
me, from civilizations arose betwe-
en Spain and India, between the
seventh and eighteenth.
Along with multiple pieces of incre-
dible courage, like al-pyxis Mugui-
ra, elephant ivory urn that belon-
ged to the Umayyad caliph son
Prince of Andalus Rahman III, the
stellar figures of this opening are
the architects Mario Bellini and Ru-
dy Ricciotti .
Together they were architects of
several architectural feats that
French President François Hollande,
open tomorrow and discover pu-
blic beginning Saturday.
The first was the creation of a veil,
red winged glass or tapestry and
gold and silver metal, supported by
eight pillars bent 30 centimeters in
diameter.
This "blanket", as it is also called, co-
vers only partially the Visconti
courtyard, built between the XVIII
and XIX, without hiding its walls."We
wanted to give mutual legibility" to
the historical facades and art mu-
seum.
It is the journey of the Persians to
Paris told by Montesquieu, the uni-
queness and the look exchanged
reciprocal that "forced to accept
their differences," said Efe Ricciotti.
The aim was also to "celebrate the
collections", for which they earned
5,000 square meters of exhibition
area, he said.
The second achievement was the
excavation of twelve meters in the
basement of the Visconti court-
yard, where they got "huge
amount of square meters of land,"
after injecting cement under high
pressure in the foundations of the
walls of the Louvre, thanks to a
French technique toe called "jet
groutin" said Bellini.
"We did what we already did in the
days of the Pyramid (of IM Pei,
opened in 1989): exploit the subsoil
to gain new spaces in the Louvre,"
said Bellini, particularly pleased
that the museum were moving only
"a millimeter "with this delicate and"
very, very complex "operation.
An excavation beneath the historic
facades of the Louvre "very diffi-
cult, very risky and very dange-
rous," he stressed Ricciotti.
"Our decision was not to cover the
patio" with a transparent roof to
add floors inside or build a small
building in the center "and it was a
good idea" because he won the
competition, he added.
Given an assignment of this type
"can not avoid producing an archi-
tecture that makes sense, contex-
tual, that relates, that encourages
an interactive exchange with the
context," he said Ricciotti.
In the Louvre, "arguably the monar-
chic-republican context" since the
first initiatives occur under Louis XIV
and the Republic continued, so it
was impossible to build "in indiffe-
rence, or the lightness, nor in gravi-
ty. "
Ricciotti also stressed the construc-
tion of a single block of cement in-
jected, "like a ship", the staircase
leading to the basement rooms
and that you think is a real
"sculpture variable geometry", very
sensual.
With the corrugated layer partially
metallic and translucent, added, "it
all comes down, we move into the
space," in an absolute readability
and, finally, "on a scale geometric
graph with respect to the represen-
tation of the works of Islam" where
the human figure is very little pre-
sent.
"Even when viewing the exhibits is
that the figure is present" and in-
fluenced by foreign religions, said
the architect, who along with Mario
Bellini museum signed conception
of the place.
Page 36
“Inmobile” in Geneve.
The Studio Sandra Recio Geneva
(Switzerland) presents new works
by the Brazilian artist based in Ma-
drid Marlon de Azambuja.
The exhibition, entitled "Immobile"
presents drawings and installations
that investigate the movement
and stillness, the breakup and re-
conciliation between the spaces,
buildings and the people who in-
habit them.
"Immobile" begins with a piece ti-
tled like the exhibition, where a
sculpture by Alexander Calder is on
a pedestal designed "traditional"
way.
The reference to Calder continues
in the series of drawings / collages
where images torn from a book
about the American artist face
drawings father of rationalist archi-
tecture, Le Corbusier, in an unex-
pected dialogue that evokes the
eternal struggle between the rhy-
me and reason, poetry and prose.
Finally, a fragile sculpture in which
the combination of glass plates
and flat construction elements
create a kind of absurd architectu-
ral model where the famous phra-
se adopted by Mies Van der Rohe
"less is more" seems to take radical
proportions.
The work of Marlon de Azambuja
explores the essence of objects
and structures from the possibilities
that arise from re-imagine their pre-
sence, examines some of the most
common and familiar in the urban
landscape - buildings, sidewalks,
streetlights, bus stops, bike racks,
public banks, etc.
By inserting a load everyday imagi-
native scenarios, Azambuja trans-
forms them into continuous sources
of wonder.
In his ephemeral sculptures, installa-
tions and drawings, Azambuja acti-
ve mechanisms to draw attention
to things that would otherwise re-
main invisible.
By accentuating the gap between
structural elements and everyday
objects, new situations, encoura-
ging relate differently to the places
they inhabit.
These works not only offer an alter-
native to our urban reality, but we
offer a key to the new observations
and multiple interpretations.
Source: Studio Sandra Recio
Title: "Immobile"
Venue: Studio Sandra Recio
Location: Geneva
Country: Switzerland
Dates: September 21 to November
16, 2012.
www.amigosmava.org
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Report of spoliation in La Trinidad.
Save The Trinity platform leads
to the desmantelimiento Attor-
ney "scale" of the listed buil-
ding
Disappearance of a large
scale from the early twentieth
century, demolition of three
annealing furnaces and one
glass melting, and subtraction
of two annealing coffers and
air transport system of glass
pieces.
Is the balance of "intentional
spoliation" ensuring been suf-
fering Glass Factory Trinity sin-
ce it closed more than a de-
cade, and in recent months
has experienced "a quantum
leap".
According to Save the plat-
form denounced the glass
factory to the prosecution,
this building located in Mira-
flores Avenue and declared
Ethnological sight since 2001,
is suffering "a takedown unli-
censed" to "sloppiness" of the
authorities responsible for en-
suring for its maintenance and
upkeep.
"It has been the looting of
scrap in the street, a large-
scale dismantling of a profes-
sional nature," said a spokes-
man of the platform, Basilio
Moreno.
Further indicate that for mo-
ving parts have disappeared
these months has been neces-
sary mechanical, "as shown in
the wheel tracks of cranes
and trucks that have been
found inside the compound."
The complaint asked the Attor-
ney to act against "these se-
rious events" and locate those
responsible.
Also appeal to the responsibili-
ty of the City Council, the Bo-
ard and the Compensation
Board Special Interior Reform
Plan.
The platform calls for "greater
vigilance" and observe "the
promise of Urbanism" in con-
junction with the technical visit
the building to assess their sta-
tus.
The PSOE raised the issue in
Parliament and referred to the
PP that the obligation to care
for the building's Compensa-
tion Board but said the city go-
vernment is vigilant with it.
www.amigosmava.org
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Page 38
Museum and Vimbodí glass furnace.
The Museum of Glass and Oven
Vimbodí presents the first school
workshops on traditional crafts and
sargaire glaziers
The Museum of Glass and Oven
Vimbodí (www.museudelvidre.cat),
managed by the City of Vimbodí
and Poblet, this course will begin
the first 2012-13 school workshops
dedicated to traditional crafts and
sargaire glaziers, formerly very pre-
sent in the locality.
The details of this new initiative has
been presented to the head tea-
chers of the Conca de Barbera, in
a meeting organized by the De-
partment of Education of the Dis-
trict Council and attended by re-
presentatives of the City and the
company vimbodinenc taught
workshops: Aventurine
(www.aventurina.cat), dedicated
to the teaching of crafts and spe-
cialized in the art of glassmaking.
In the presentation, attendees we-
re able to see a sample of students
will perform pieces in these works-
hops, which will be held in the mu-
seum premises.
Glazier's workshop and the office
of sargaire, or coated bottles and
other glass containers, will have en-
terprise monitoring montblanquina
Play & Learn, Maite managed Ga-
llardo.
The aim of this new educational
initiative for schoolchildren at the
Museum of Glass and Oven Vim-
bodí is to spread two traditional
professions and crafts, show pro-
duction of glass as a symbol of
identity of the municipality and the
region and highlight the importan-
ce of sargaire and other offices in-
volved in the production of glass,
like a lumberjack or a fireman.
It also seeks to use glass as a me-
dium of artistic expression
(highlighting features that make it
unique: color, sound, texture), dis-
cover the glass as playmate, en-
courage the use of glass in the dai-
ly acts , recognize everyday ob-
jects made of wicker and other
plant fibers, and discover the pro-
duction of wicker with a playful ex-
perience.
Preparation of several pieces
With fused glass workshop students
will learn two techniques: the deve-
lopment of glass blowing, by the
master glassmaker Museum, Paco
Ramos, and fusion technique vitro.
Students will prepare a dish, a
candle or a bowl for grapes or che-
rries.
This work will be sent to participa-
ting school within 10 days.
For workshop and craft of wicker
sargaire, students develop a pro-
tector with bone for a glass, which
will be the same day.
The workshops are part of the va-
rious activities of promotion and dis-
semination of the glass holding Vim-
bodí City Council and Poblet.
Moreover, the City Council, along
with the master glassmaker and his
assistant, have started the recovery
and dissemination of traditional ob-
jects related to Catalan culture
using glass blown glass technique,
as elaborated formerly local kilns .
Earlier this year began promoting
marriage (container for oil and vi-
negar in a single package) through
a potential legend oriíens detailing
of this piece, and is currently wor-
king on promoting almorratxa, a
colorful container consisting of dif-
ferent nozzles with traditional dan-
ces perfume spread throughout
Catalonia.
Schools that are interested in the
workshops of glass and can consult
the websites sargaire
www.museudelvidre.cat or
www.aventurina.cat
www.amigosmava.org
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Page 39
Castillo de San José de
Valderas.
Avda. Los Castillos, s/n
28925 ALCORCÓN
MADRID
Nuestro Boletín tiene su
redacción en:
Al vidrio por la cultura
The Association of Friends of
MAVA was incorporated on Ju-
ne 21, 2003 in accordance with
existing management.
The purpose of this Association is
to promote, encourage and
support many cultural activities
in the broadest terms, are rela-
ted to the mission and activities
of the Glass Art Museum of Al-
corcon.
Our goal is to develop and co-
llaborate with other public or pri-
vate entities to promote, protect
and promote the art and culture. www.amigosmava.org
Presidente honorario
Javier Gómez Gómez
Presidente
Miguel Angel Carretero Gómez
Vicepresidente
Pablo Bravo García
Secretaria
Teresa Fernández Romojaro
Tesorera
Mª Angeles Cañas Santos
Vocales
Rosa García Montemayor
Evangelina del Poyo
Diego Martín García
Francisco Martín García
José María Gallardo Breña
Mª Luisa Martínez García.
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Page 40
Line of research. Images.
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Fig. 1
Fig. 2
Fig. 3
Fig. 4